WORDS CIARA FORRISTAL
Given the trend of the Academy to favour biopics and historical films, it is no surprise that Hollywood studios have recruited academics to act as “history assassins” to undermine their rivals’ contending film. Historical accuracy, however, has to contend with the inevitability of entanglement of historical fact and fiction, which can at times lead fiction to be perpetuated to such an extent it becomes the basis of fact. Such preference for fiction over fact is best seen in David O. Russell’s latest film American Hustle, whose tagline “Some of this actually happened”, manages to blend fiction with reality — a compromise that history, at times, has had to contend with.
The film is based on the “Abscam” (Abdul Scam), a stranger than fiction operation in which the FBI used a con artist and fake sheikh to entrap corrupt public officials in the late 70s and early 80s. Centering on the entrapment of Mayor Carmine Polito, the film immediately conspires to place the audience within the role of willing accomplice by introducing the main players, their dynamics and machinations of the scam — all without distinguishing the con artists from their federal counterparts.
Narrated by Irving Rosenfeld (an almost unrecognisable Christian Bale), the film recounts his life and the events leading up to his current predicament. Irving, a dry cleaner-cum-art forger and loan shark recounts his first encounter with Sydney Prosser (Amy Adams) and their mutual attraction, not only to each other but the unlimited possibility and potential of achieving more money, more prestige and more power. Sydney’s past life as a stripper, her potent sexuality and her willingness to reinvent herself as the prestigious Lady Edith Greensley, with an impeccable accent in tow, as well as forged banking connections, lead Sydney and Irving into a cascading spiral of wealth, romance and overreaching greed. Obstacles, however, are placed in the way in the form of Irving’s tempestuous and highly-strung wife, Rosalyn (Jennifer Lawrence) whose manipulation of Irving’s love for his adopted son insures his reluctant commitment to his marriage. Moreover, Edith and Irving’s operation comes under threat by FBI’s Ritchie DiMaso (Bradley Cooper) whose undercover operation sees their arrest for fraudulent activities — an arrest only to be avoided by using their talents for the good of the Bureau as well as to further DiMaso’s career.
The concept of the American Dream, its subversion and it’s re-invention is at the heart of this film, and becomes more deeply entrenched as the film progresses. Something as insignificant as Rosalyn’s love of a Swiss nail polish provides the kernel of truth the film seeks to establish — the attraction and repulsion of power, money and sex, the inevitable sourness that underscores the sweetness of success. Russell’s protagonists are nuanced and complex, their integrity and character are not determined by the side of the law they stand on. The increased blurring of these lines as the film progresses highlights the human attraction of both sweet and unsavoury activities. DiMaso’s increasing power and his overreaching desire to establish himself, results in a constant push and pull situation, partly influenced by Edith who dangles her alluring sexuality in a bid to encourage him to commit to an honest relationship with “no secrets”. The loss of trust and faith in the American Dream, and in politicians such as Polito (Jeremy Renner) after the Watergate Scandal leads to Irving’s thought-provoking realisation that sometimes people should be able to believe in what is tangible and real.
The laughs come hard and fast and although, like Argo, it has the pastiche and coiffure of the 70s, it lacks the slickness and coherency of plot, descending at times into zany, almost farcical antics. The constant double-crossing, particularly by Adams’ character, can at times be wearisome and detracts for the momentum of the film which at just over two hours, can feel overbearing. However, with its star-studded cast, the majority of whom are tried and tested alumni of Russell’s previous works, does not disappoint. Adams is superb as Sydney/ Edith and her reinvention and the ambiguity of her loyalty towards Irving and DiMaso is riveting to watch. Adams’ portrayal highlights perhaps the inevitable — that escaping from one’s past into a precisely constructed present identity, can at times lead to a restlessness and loss of one’s self. Lawrence, whose Oscar win was for Russell’s Silver Linings Playbook, broadens her acting portfolio with her portrayal of Rosalyn, a vulnerable yet incredibly tough siren who is just one embodiment of the multi-faceted image of the American Dream. The aesthetics and attire works wonders in the film, particularly for Bale and Cooper, both of whom constantly fret over the state of their hair, or lack of it in Bale’s case. Cooper’s use of miniature rolls to perfect his signature curls and Bale’s elaborate comb-over — seemingly small, inconsequential details, highlight the similarity of their characters, the nature of their situations and the need to find stability within themselves in a society filled with hoaxes, forgeries and constant upheavals.
With Golden Globe nominations for each of the principal actors, and possible Oscar nominations in store, this film combines light-hearted tropes of the crime/sting drama to create a humour laden film with superb acting. Unlike fellow award contenders such as 12 Years a Slave, the film holds its own, creating its own form of gravitas that does not lend itself to rigorous historical fact-checking and seriousness of tone.
